Robert J. Corber – författare

Queer Studies: An Interdisciplinary Reader is a collection of essays that over the past two decades have helped to establish sexuality as one of the most vital and important areas of study in both the humanities and social sciences. Brings together important essays that have helped to establish sexuality as one of the most vital areas of study in the humanities and social sciences.Includes an introductory essay by the editors that provides a context for this pivotal scholarship and promotes dialogue across disciplines.Discusses key issues in the field, including sexual politics, cultural construction of sexuality, transnationalism, race, community, sexual citizenship and the nation-state.Functions as a primary text for introductory as well as advanced courses, as a general introduction to the field, and as a scholarly resource.

In the Name of National Security exposes the ways in which the films of Alfred Hitchcock, in conjunction with liberal intellectuals and political figures of the 1950s, fostered homophobia so as to politicize issues of gender in the United States.As Corber shows, throughout the 1950s a cast of mind known as the Cold War consensus prevailed in the United States. Promoted by Cold War liberals--that is, liberals who wanted to perserve the legacies of the New Deal but also wished to separate liberalism from a Communist-dominated cultural politics--this consensus was grounded in the perceived threat that Communists, lesbians, and homosexuals posed to national security. Through an analysis of the films of Alfred Hitchcock, combined with new research on the historical context in which these films were produced, Corber shows how Cold War liberals tried to contain the increasing heterogeneity of American society by linking questions of gender and sexual identity directly to issues of national security, a strategic move that the films of Hitchcock both legitimated and at times undermined. Drawing on psychoanalytic and Marxist theory, Corber looks at such films as Rear Window, Strangers on a Train, and Psycho to show how Hitchcock manipulated viewers' attachments and identifications to foster and reinforce the relationship between homophobia and national security issues.A revisionary account of Hitchcock's major works, In the Name of National Security is also of great interest for what it reveals about the construction of political "reality" in American history.

Challenging widely held assumptions about postwar gay male culture and politics, Homosexuality in Cold War America examines how gay men in the 1950s resisted pressures to remain in the closet. Robert J. Corber argues that a form of gay male identity emerged in the 1950s that simultaneously drew on and transcended left-wing opposition to the Cold War cultural and political consensus. Combining readings of novels, plays, and films of the period with historical research into the national security state, the growth of the suburbs, and postwar consumer culture, Corber examines how gay men resisted the "organization man" model of masculinity that rose to dominance in the wake of World War II. By exploring the representation of gay men in film noir, Corber suggests that even as this Hollywood genre reinforced homophobic stereotypes, it legitimized the gay male "gaze." He emphasizes how film noir’s introduction of homosexual characters countered the national "project" to render gay men invisible, and marked a deep subversion of the Cold War mentality. Corber then considers the work of gay male writers Tennessee Williams, Gore Vidal, and James Baldwin, demonstrating how these authors declined to represent homosexuality as a discrete subculture and instead promoted a model of political solidarity rooted in the shared experience of oppression. Homosexuality in Cold War America reveals that the ideological critique of the dominant culture made by gay male authors of the 1950s laid the foundation for the gay liberation movement of the following decade.

In his bestselling book The Grapevine: A Report on the Secret World of the Lesbian (1965), Jess Stearn announced that, contrary to the assumptions of many Americans, most lesbians appeared indistinguishable from other women. They could mingle “congenially in conventional society.” Some were popular sex symbols; some were married to unsuspecting husbands. Robert J. Corber contends that The Grapevine exemplified a homophobic Cold War discourse that portrayed the femme as an invisible threat to the nation. Underlying this panic was the widespread fear that college-educated women would reject marriage and motherhood as aspirations, weakening the American family and compromising the nation’s ability to defeat totalitarianism. Corber argues that Cold War homophobia transformed ideas about lesbianism in the United States. In the early twentieth century, homophobic discourse had focused on gender identity: the lesbian was a masculine woman. During the Cold War, the lesbian was reconceived as a woman attracted to other women. Corber develops his argument by analyzing representations of lesbianism in Hollywood movies of the 1950s and 1960s, and in the careers of some of the era’s biggest female stars. He examines treatments of the femme in All About Eve, The Children’s Hour, and Marnie, and he explores the impact of Cold War homophobia on the careers of Joan Crawford, Bette Davis, and Doris Day.

In the Name of National Security exposes the ways in which the films of Alfred Hitchcock, in conjunction with liberal intellectuals and political figures of the 1950s, fostered homophobia so as to politicize issues of gender in the United States.As Corber shows, throughout the 1950s a cast of mind known as the Cold War consensus prevailed in the United States. Promoted by Cold War liberals--that is, liberals who wanted to perserve the legacies of the New Deal but also wished to separate liberalism from a Communist-dominated cultural politics--this consensus was grounded in the perceived threat that Communists, lesbians, and homosexuals posed to national security. Through an analysis of the films of Alfred Hitchcock, combined with new research on the historical context in which these films were produced, Corber shows how Cold War liberals tried to contain the increasing heterogeneity of American society by linking questions of gender and sexual identity directly to issues of national security, a strategic move that the films of Hitchcock both legitimated and at times undermined. Drawing on psychoanalytic and Marxist theory, Corber looks at such films as Rear Window, Strangers on a Train, and Psycho to show how Hitchcock manipulated viewers'' attachments and identifications to foster and reinforce the relationship between homophobia and national security issues.A revisionary account of Hitchcock''s major works, In the Name of National Security is also of great interest for what it reveals about the construction of political "reality" in American history.

Challenging widely held assumptions about postwar gay male culture and politics, Homosexuality in Cold War America examines how gay men in the 1950s resisted pressures to remain in the closet. Robert J. Corber argues that a form of gay male identity emerged in the 1950s that simultaneously drew on and transcended left-wing opposition to the Cold War cultural and political consensus. Combining readings of novels, plays, and films of the period with historical research into the national security state, the growth of the suburbs, and postwar consumer culture, Corber examines how gay men resisted the "organization man" model of masculinity that rose to dominance in the wake of World War II.By exploring the representation of gay men in film noir, Corber suggests that even as this Hollywood genre reinforced homophobic stereotypes, it legitimized the gay male "gaze." He emphasizes how film noir’s introduction of homosexual characters countered the national "project" to render gay men invisible, and marked a deep subversion of the Cold War mentality. Corber then considers the work of gay male writers Tennessee Williams, Gore Vidal, and James Baldwin, demonstrating how these authors declined to represent homosexuality as a discrete subculture and instead promoted a model of political solidarity rooted in the shared experience of oppression. Homosexuality in Cold War America reveals that the ideological critique of the dominant culture made by gay male authors of the 1950s laid the foundation for the gay liberation movement of the following decade.

In his bestselling book The Grapevine: A Report on the Secret World of the Lesbian (1965), Jess Stearn announced that, contrary to the assumptions of many Americans, most lesbians appeared indistinguishable from other women. They could mingle “congenially in conventional society.” Some were popular sex symbols; some were married to unsuspecting husbands. Robert J. Corber contends that The Grapevine exemplified a homophobic Cold War discourse that portrayed the femme as an invisible threat to the nation. Underlying this panic was the widespread fear that college-educated women would reject marriage and motherhood as aspirations, weakening the American family and compromising the nation’s ability to defeat totalitarianism. Corber argues that Cold War homophobia transformed ideas about lesbianism in the United States. In the early twentieth century, homophobic discourse had focused on gender identity: the lesbian was a masculine woman. During the Cold War, the lesbian was reconceived as a woman attracted to other women. Corber develops his argument by analyzing representations of lesbianism in Hollywood movies of the 1950s and 1960s, and in the careers of some of the era’s biggest female stars. He examines treatments of the femme in All About Eve, The Children’s Hour, and Marnie, and he explores the impact of Cold War homophobia on the careers of Joan Crawford, Bette Davis, and Doris Day.

First published in 1932, A Scarlet Pansy is an extraordinarily vivid and richly textured depiction of American queer life in the early twentieth century, tracing the coming-of-age of androgynous Fay Etrange. Born in small-town Pennsylvania and struggling with her difference, Fay eventually accepts her gender and sexualnonconformity and immerses herself in the fairy subculture of New York City. A self-proclaimed "oncer"—never tricking with same man twice—she immerses herself in the nightclubs, theaters, and street life of the city, cavorting with kindred spirits including female impersonators, streetwalkers, and hustlers as well as other fairies and connoisseurs of rough trade. While reveling in these exploits she becomes a successful banker and later attends medical school, where she receives training in obstetrics. There she also develops her life's ambition to find a cure for gonorrhea, a disease supposedly "fastened on mankind as a penalty for enjoying love."A Scarlet Pansy stands apart from similar fiction of its time—as well as that of the ensuing decades—by celebrating rather than pathologizing its effeminate and sexually adventurous protagonist. In this edition, republished for the first time in its original unexpurgated form, Robert J. Corber examines the way in which it flew in the face of other literature of the time in its treatment of gender expression and same-sex desire. He places the novel squarely within its social and cultural context of nearly a century ago while taking into account the book's checkered publication history as well as the question of the novel's unknown author.Much more than cultural artifact, A Scarlet Pansy remains a uniquely delightful and penetrating work of literature, resonating as much with present-day culture as it is illuminating of our understanding of queer history and challenging our notions of what makes a man a woman, and vice-versa.

First published in 1932, A Scarlet Pansy is an extraordinarily vivid and richly textured depiction of American queer life in the early twentieth century, tracing the coming-of-age of androgynous Fay Etrange. Born in small-town Pennsylvania and struggling with her difference, Fay eventually accepts her gender and sexualnonconformity and immerses herself in the fairy subculture of New York City. A self-proclaimed "oncer"—never tricking with same man twice—she immerses herself in the nightclubs, theaters, and street life of the city, cavorting with kindred spirits including female impersonators, streetwalkers, and hustlers as well as other fairies and connoisseurs of rough trade. While reveling in these exploits she becomes a successful banker and later attends medical school, where she receives training in obstetrics. There she also develops her life's ambition to find a cure for gonorrhea, a disease supposedly "fastened on mankind as a penalty for enjoying love."A Scarlet Pansy stands apart from similar fiction of its time—as well as that of the ensuing decades—by celebrating rather than pathologizing its effeminate and sexually adventurous protagonist. In this edition, republished for the first time in its original unexpurgated form, Robert J. Corber examines the way in which it flew in the face of other literature of the time in its treatment of gender expression and same-sex desire. He places the novel squarely within its social and cultural context of nearly a century ago while taking into account the book's checkered publication history as well as the question of the novel's unknown author.Much more than cultural artifact, A Scarlet Pansy remains a uniquely delightful and penetrating work of literature, resonating as much with present-day culture as it is illuminating of our understanding of queer history and challenging our notions of what makes a man a woman, and vice-versa.